Do You Remember Love

Do You Remember Love
PERIGEE GALLERY
Sep. 10. 2022 - Nov. 14. 2020

Line That Wants to be a Line
Pencil, urethane paint, aluminum, steel, Dimensions variable, 2020

Profoundly influenced by the scenes of missile firing action illustrated by Ichiro Itano, one of the animators for ‘Macross(Super Dimension Fortress Macross)’, this work demonstrates a line rendered on other lines and a line standing in space. The viewer’s movement becomes the cause of changing the distance from an object or generating changes in a continuous gaze. Ichiro Itano sets up and represents a state in which a photographing object conducts physical movements akin to those of a photographed object (a missile or a flying object) in order to bring about the lively action of a missile. This technique of drawing is weirdly bound up with the setting of ‘play within the play’ within Macross worldview in ‘Macross: Do You Remember Love’ , a film adaptation of the original anime Macross series.

Play within the Play
Resin, aluminum, Dimensions variable, 2020

The ingredients of line are separated and depicted three-dimensionally in this work. From the point of view that line is expanded, this work encompasses the perspective that line is made flat using a device that three-dimensionalizes a subordinate relationship between background and line in the environment where lines can emerge. This flat relation makes a stage for play to be carried out. The title 'Play within the Play' refers to a play within the play sharing the same worldview as a play outside the play.

Triptych: Size, Movement, Count
Resin, carbon fibers, urethane foam, isopink, urethane paint, steel, Dimensions variable, 2020

A mass is carved and then enveloped with carbon fiber fabric. Its surface is sanded after being layered with transparent resin. This work is particularly marked by color and texture intrinsic to it due to its facture and material property. (The principal element of carbon fiber fabric and graphite is carbon. The two share some similarities in terms of color and material properties.) Made up of three masses, this work is in an undetermined state whether it depicts the transition of a series of changes in one single object or expresses three different objects. This work shares its form with <Constant Distance>.

Constant Distance
PLA filament, Dimensions variable, 2020

The artist takes several pictures of a carved part (a carved mass before it was enveloped with carbon fiber fabric and resin) of <Triptych: Size, Movement, Count>, creates scanned data with those photographs and then prints them on a 3D printer. On entrance, visitors are handed this mass. A bent plane in a space, a certain distance from the plane, and a tactile sensation at a certain distance are possible from the size that is grasped in the hand. If the same shape makes us perceive different objects as the same thing, an object the viewers feel is both inside and outside the viewers.

Drawing Made from a Distance
Pencil, paper, 197x137.8 cm, 2020

This work is concerned with the end of a line. It’s drawn with a pencil put in a very long, thin pipe. As this tool is too long and thin, it continuously bends while drawing a picture. As a result, it can suggest only a hint of the artist’s will or intent. The artist has to sense how its material property and end are so feeble to draw pictures with. The artist observes both the scene and the pipe changing when drawing. And, the pipe becomes the object of his drawing in this work.

The Largest
Pencil, parchment paper, 46.5x32.5 cm, 2020

While <Drawing Made from a Distance> is a work to reach the far end, <The Largest> feels like extracting the element of proportion from <Drawing Made from a Distance>. There is no direct correlation with “distant” but there seems to be. It separates an element that seems inseparable from “large” as it is placed on a different layer.